Concrete Temple Theatre http://concretetempletheatre.com/new Mon, 21 Apr 2014 03:45:26 +0000 en-US hourly 1 http://wordpress.org/?v=3.9 Bird Machine http://concretetempletheatre.com/new/bird-machine/ http://concretetempletheatre.com/new/bird-machine/#comments Fri, 06 Apr 2012 16:15:07 +0000 http://concretetempletheatre.com/new/?p=497

About

Bird Machine is Concrete Temple Theatre’s multimedia, multi-disciplinary, allegory. A visceral mixture of objects, puppets, shadows and projections creates the environment and landscape of Bird Machine, a play about technology, a contemporary fable that explores the desire to live beyond human limitations. Part one reveals: Leo, the dreamer, obsessed with flying; Vince, the realist, trying to control his world through miniaturization; and the Emperor, destroying Leo and his flying machine, out of fear that others will use the technology to conquer the walls of his city. In part two, Vince vindicates Leo’s murder by turning his miniature garden into a larger-than-life garden, to lure and trap the Emperor. Audiences of Bird Machine will experience two worlds and two technologies. The beginning of the piece depicts a world that is pastoral, the mechanics simple: a bird flaps across stage then soars overhead. Part two, still a puppet- driven environment, uses projections to introduce contemporary technology and bring the stage to life.

History

  • August 8, 2013

    Puppet Festival (r)Evolution, Swarthmore, PA

  • September 2011

    2011 PIERROT International Festival, Stara Zagora, Bulgaria, and Small City Theatre, Sofia, Bulgaria

  • May 2011

    14th Istanbul International Puppet Festival, Istanbul, Turkey and Merinos Cultural Center, Bursa, Turkey

  • December 2010

    Orlando Puppet Festival, Orlando, FL

  • September 2010

    Secret Theatre, Queens, NY

  • June/July 2009

    Theater Three, New York, NY

  • June 2007

    Access Theatre, New York, New York

  • June 2004

    Arts at St. Ann’s, Labapalooza!, Brooklyn, NY

  • May 2004

    Workshop/Reading, Ensemble Studio Theatre: First Light Festival, New York, NY

The development of Bird Machine has been made possible through the support of: The Jerome Foundation, The Jim Henson Foundation, New York State Council on the Arts, St. Ann’s Puppet Lab, Workspace for Choreographers, Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project Commission, chashama, and New York City Department of Cultural Affairs.

Press

 

  • RECOMMENDED! Bird Machine, by Concrete Temple Theatre, charts a tale of visual splendor combining traditional elements of theatre with puppetry…there’s more than meets the eye. Bird Machine defies storytelling convention by foregoing long scenes of expository dialogue and giving us a series of detailed and inventive moments that made me absolutely giddy…It is industriously artful, and a helluva lot of fun to watch…I am looking forward to seeing what comes next from ConcreteTemple Theatre Company. –Montserrat Mendez, nytheatre.com

 

 

  • An engaging piece of experimental theater…The troupe manipulates giant wings for Leo, collapses a model town into a desk for Vince, dangles flocks of birds over the stage, and dazzles with a parade of toys and illusions….it’s so ambitious, and so immersive…its allegory about technology, power, and art succeeds.- Ben Beitler, Village Voice

 

  • CRITIC’S PICK! The stagecraft is the star of Bird Machine, co-created by Renee Philippi and Carlo Adinolfi. The show has technology as a major theme, but most of the devices and techniques are pleasingly low-tech yet highly imaginative and lift the storytelling into a magical realm. Beguiling puppets are artfully manipulated by a busy crew of puppeteers. Props and set pieces are bathed in evocative lights and projections, emitting a fairy-tale essence.” “Michael Tomlinson brings impressive emotional depth to Vince, who serves as the play’s narrator. Adinolfi, who also designed the sets, puppets, and projections, makes Leo an engaging fellow, and Jo Jo Hristova gives an appropriate imperiousness to the emperor, whose regal robes are topped by an enormous crown suspended in midair.” “The show is further enhanced by David Pinkard’s recorded original symphonic score, which accompanies almost all the action, often synchronized with director Philippi’s staging. Other noteworthy credits include Renée Molina’s lighting and Danielle Breitenbach’s costumes. –Ron Cohen, Back Stage Magazine
  • Tomlinson, in particular, reaches for a genuine emotional center for his villainous, yet deeply sympathetic character. His opening monologue starts the evening off well, and his presence and beautiful voice are continually striking as the performance progresses….Hristova is also a standout with her delightfully self-obsessed Emperor. She brings big, over-the-top energy and a sense of fun that is exactly right. Adinolfi has several scenes working with puppet partners in which his physicality is very engrossing. –Johnna Adams, offoffonline.com

 

Photos

Video

]]>
http://concretetempletheatre.com/new/bird-machine/feed/ 0
The Whale http://concretetempletheatre.com/new/the-whale/ http://concretetempletheatre.com/new/the-whale/#comments Fri, 06 Apr 2012 16:14:00 +0000 http://concretetempletheatre.com/new/?p=495

About

Moby Dick, by Herman Melville tells the tale of Captain Ahab and his maniacal pursuit of the ever-elusive white whale. In Concrete Temple’s The Whale, the often over-looked Sub-Sub-Librarian is featured, and it’s he who plays not only Ishmael and Captain Ahab but Moby Dick himself.

Using only his body, voice, and an extraordinary collection of hand-crafted and rigged props to create life on a whale ship, Adinolfi, a dancer and actor by training, puts into service a variety of storytelling traditions. The effect of one man embodying this enormous literary epic in 60 minutes, using Melville’s text, is simultaneously playful and profound. The visual and physical nature of the work makes The Whale a unique theatrical experience.

Adinolfi transforms a tiny stage into both the sea-locked world of the Pequod’s decks and the vast, unfathomable sea itself.
–Rebecca Mead, The New Yorker

This is an intense, poetic reaction to Melville’s novel, created using a heightened theatricality and a set that would look at home in a gallery.
–Diane Dubois, The Scotsman, UK

When Moby Dick itself rises up from nowhere with fearsome power, it is easy to forget this is all in the mind, and you can almost taste the salt as you drown in the deep waters of Adinolfi’s imagination.
–Jeremy Hodges, The Daily Mail, UK

A smart, very thoughtful adaptation, this Melville-inspired performance gives lovers of Moby-Dick much to talk about.
–Prof. John Bryant, Editor, Melville Society

…It is those moments when Moby Dick himself is realized on the stage that The Whale really captivates. Most thrillingly, Adinolfi himself portrays Moby Dick, arranging his powerful body into an appropriate compacted shape and then, with graceful dance movements, swimming and thrusting to show us the grandeur and indomitability of Ahab’s formidable nemesis.
–Martin Denton, nytheatre.com

In the same way Herman Melville experimented with language in Moby-Dick, Carlo Adinolfi, in his one-man stage adaptation of the novel, manipulates his voice and body. With similar playfulness, The Whale, presented by Concrete Temple Theatre, addresses the ways and means of storytelling, producing an elaborate dance that pays homage to the awesome, but graceful power of the sea and to Melville’s original text… …The spirit of Melville is very much alive in this staging, which likewise pays respect to its subject with a vibrant telling.
–Maura O’Brien, Offoffonline

History

  • March 2011

    Pontine Theatre, Portsmouth, NH

  • January 2009

    Barrow Street Theatre, NYC, Off-Broadway

  • August 2008

    Tour of the Seven Major Cities of India and Sri Lanka

  • September 2007

    West Shore Performing Arts Series, Scottville, Michigan

  • January 2007

    University of Michigan, Flint, Michigan

  • July 2006

    The Yard, Martha’s Vineyard, MA

  • August 2005

    Nantucket Historical Association, Whaling Museum, Nantucket, MA

  • October 2004

    Sarah Lawrence College, NY

  • January 2004

    Quick Center for the Arts, St. Bonaventure, NY

  • November 2003

    Bentley College, Waltham, MA

  • July/August 2003

    Assembly Rooms, Edinburgh, Scotland

  • June 2003

    78th Street Theatre Lab, New York, NY

The development of The Whale has been made possible through the support of New York State Council on the Arts, New York City Department of Cultural Affairs, Workspace for Choreographers, Ensemble Studio Theatre, and Hudson Opera House.

Press

 

Adinolfi transforms a tiny stage into both the sea-locked world of the Pequod’s decks and the vast, unfathomable sea itself.
–Rebecca Mead, The New Yorker

This is an intense, poetic reaction to Melville’s novel, created using a heightened theatricality and a set that would look at home in a gallery.
–Diane Dubois, The Scotsman, UK

When Moby Dick itself rises up from nowhere with fearsome power, it is easy to forget this is all in the mind, and you can almost taste the salt as you drown in the deep waters of Adinolfi’s imagination.
–Jeremy Hodges, The Daily Mail, UK

A smart, very thoughtful adaptation, this Melville-inspired performance gives lovers of Moby-Dick much to talk about.
–Prof. John Bryant, Editor, Melville Society

…It is those moments when Moby Dick himself is realized on the stage that The Whale really captivates. Most thrillingly, Adinolfi himself portrays Moby Dick, arranging his powerful body into an appropriate compacted shape and then, with graceful dance movements, swimming and thrusting to show us the grandeur and indomitability of Ahab’s formidable nemesis.
–Martin Denton, nytheatre.com

In the same way Herman Melville experimented with language in Moby-Dick, Carlo Adinolfi, in his one-man stage adaptation of the novel, manipulates his voice and body. With similar playfulness, The Whale, presented by Concrete Temple Theatre, addresses the ways and means of storytelling, producing an elaborate dance that pays homage to the awesome, but graceful power of the sea and to Melville’s original text… …The spirit of Melville is very much alive in this staging, which likewise pays respect to its subject with a vibrant telling.
–Maura O’Brien, Offoffonline

Photos

Video

]]>
http://concretetempletheatre.com/new/the-whale/feed/ 0
Hudson to China http://concretetempletheatre.com/new/hudson-to-china/ http://concretetempletheatre.com/new/hudson-to-china/#comments Fri, 06 Apr 2012 16:13:00 +0000 http://concretetempletheatre.com/new/?p=492

About

See what can happen in a giant red box!

Hudson to China is a toy theatre spectacle that features a combination of projections, puppetry, theatre, and live-music all in a giant red box! An epic “small” show that challenges our perceptions of China, capitalism, consumerism, and the universal human desire for success.

The worlds of three very different dreamers collide in Hudson to China. Harry, an unemployed Wall Street Broker, dreams of success by literally conquering what he fears: China and its economy. Hua, a recent Chinese immigrant, struggles to find her place in the fast-paced life of New York City. Meanwhile, the Statue of Henry Hudson longs to finish his journey to the mythical Orient. On their journeys the voyagers are challenged to question their perceptions of China, and its complex history with the United States. Three puppeteers/actors and a one-man band, Bob Goldberg, plays throughout the piece, incorporating the accordion and a multitude of percussion instruments.

Co-created by: Renee Philippi and Carlo Adinolfi; Puppets & Set: Carlo Adinolfi; Director: Renee Philippi; Original Music: Bob Goldberg; Lighting Design and Projection Animation: Casey McLain; Performed by: Carlo Adinolfi, Brian Carson, Bob Goldberg, and Akiko Hiroshima.

“Concrete Temple Theatre opened Voice 4 Vision Puppetry Festival with an elaborate, hour-long toy theatre presentation, Hudson to China, with a double-wide stage, appropriately painted Chinese red, included trap doors, slatted wooden Venetian blinds and various playing levels for the cast of three live actors and countless, flat jointed puppets, to appear in front of, and disappear behind, to our continued amusement.” – Peter Lewis, Editor, Puppetmaster

History

  • December 2011

    Voice 4 Vision Puppetry Festival, Theater for the New City, New York, NY

  • December 2010

    Dixon Place, Puppet Blok, New York, NY

  • June 2010

    Great Small Works’ International Toy Theatre Festival, St. Ann’s Warehouse,
    Brooklyn, NY

  • December 2010

    Hudson Opera House, Hudson, NY

  • November 2010

    Dixon Place, Puppet Blok

Support for Hudson to China comes from a commission by the Hudson Opera House, Hudson, NY with funds from the New York State Council for the Arts, a Jim Henson Foundation Project Grant, as well as Concrete Temple Theatre’s support from NYSCA, New York City Department of Cultural Affairs, and Dixon Place’s Puppet Blok.

Press

Photos

Video

]]>
http://concretetempletheatre.com/new/hudson-to-china/feed/ 0
The Bystander Project http://bystanderproject.org http://bystanderproject.org#comments Fri, 06 Apr 2012 16:11:36 +0000 http://concretetempletheatre.com/new/?p=490 The Bystander Project is a stage adaptation of the celebrated James Preller anti-bullying novel for young adults, Bystander, incorporating a blend of narrative storytelling, movement, projections, and music. ]]> http://bystanderproject.org/feed/ 0 Alberto’s Great Escape http://concretetempletheatre.com/new/albertos-great-escape/ http://concretetempletheatre.com/new/albertos-great-escape/#comments Fri, 06 Apr 2012 16:10:21 +0000 http://concretetempletheatre.com/new/?p=488

About

The hero of the story is an Italian postal worker who, frustrated by his dead end job, finally reaches the end of his tether and decides to leave home and see the world. However, he is riven by indecision as he finds the gravitational pull of his family and the things he values most undermining every attempt to escape. In the struggle to leave, he bumps his head and enters a strange fantasy world in which he meets the Florida Sunshine Girl. A fantastical journey ensues in which he dances the tarantella, becomes trapped within the walls of his apartment, and battles Strega Cecila. His battle with the witch finally wakes him from his stupor, to find that all along he had the freedom to leave and fulfill his dreams. Alberto’s Great Escape is a charming, touching tale inspired by the profound pathos of the clown combined with the communal folk memory of (Italian born) Carlo and (Italian American) Renee’s families. The band ‘Le Nozze di Carlo’ have created and recorded original Italian folk music for the piece.

Even without fairy dust scattered over our hero Alberto, there’s a warmth & magic about Alberto’s Great Escape… The agile Adinolfi is a beguiling and versatile entertainer… a delightful show.
–Lynne Walker, The Independent, UK…the fantastical adventures of an Italian postal worker have real appeal for dreamers of all ages.
–Mary Brennan, The Herald, UK

History

  • March 2008

    Hudson Opera House, Hudson, NY

  • March 2008

    Pompanuck Farm, Cambridge, NY

  • May 2007

    78th Street Theatre Lab, New York, NY

  • August 2006

    Pleasance Courtyard, Edinburgh, Scotland

  • December 2005

    Yonkers Riverfront Auditorium, presented by Hamm & Clov, Yonkers, NY

The development of Alberto’s Great Escape has been made possible through the support of New York State Council on the Arts, New York City Department of Cultural Affairs, Westchester Arts Council’s Arts Alive Grant, and 78th Street Theatre Lab.

Press

Photos

Video

]]>
http://concretetempletheatre.com/new/albertos-great-escape/feed/ 0
Extraordinary Extremities http://concretetempletheatre.com/new/the-peculiar-extremities-of-perseus/ http://concretetempletheatre.com/new/the-peculiar-extremities-of-perseus/#comments Fri, 06 Apr 2012 16:07:13 +0000 http://concretetempletheatre.com/new/?p=484

About

Extraordinary Extremities is a tale of resilience, adaptation and ingenuity that tells the story of puppet-maker Geppetto, who is attempting to perform — all by himself for the first time ever — the grand mythical love story of Perseus, who slays a sea monster to save his beloved Andromeda. During the show things begin to go haywire, and Geppetto finds himself desperately improvising to overcome the challenges of performing solo while at the same time scrambling to devise new story lines, new characters, and even new limbs.

Extraordinary Extremities was inspired by a NPR story on Hugh Herr, whose legs were amputated after a climbing accident and who now designs technologically advanced artificial limbs.

History

  • January 2014

    Teatro Jaco, Jaco, Costa Rica

  • November 2013

    7-City Tour in Northern Italy

  • August 17-18, 2013

        Bard SummerScape Spegieltent, Annandale-on-Hudson, NY

  • June 10-30, 2013

         HERE Arts Center, New York, NY

  • March 16, 2013

         Two In-progress showings at Hudson Opera House, Hudson, NY

  • June 1-3, 2012

         An early In-progress showing, St. Ann’s Warehouse’s Labapalooza!, Dumbo, NY

GEPPETTO began its development through a residency at St. Ann’s Warehouse’s Puppet Lab, Brooklyn, NY, 2011-2012.

Press

“The play focuses on a longing for magic, a wish for a transformative power…A compelling performance, enhanced by haunting cello music… It celebrates human ingenuity.”
- The New York Times

“Poignant yet funny… worth seeing…” –nytheatre.com

The New York Times

Show Business Weekly

Blogcritics.org

NYTheatre.com

LettersFromTheMezzanine.com

New York Theatre Wire

 

Photos

Video

]]>
http://concretetempletheatre.com/new/the-peculiar-extremities-of-perseus/feed/ 0
Grey Green Canals http://concretetempletheatre.com/new/grey-green-canals/ http://concretetempletheatre.com/new/grey-green-canals/#comments Sun, 01 Apr 2012 20:58:31 +0000 http://concretetempletheatre.com/new/?p=382

About

Women and water are the subjects of GREY GREEN CANALS: each being a metaphor for the other: flowing, connecting, giving life. GREY GREEN CANALS is a 60-minute touring theatrical event, which contemplates water scarcity, declining feminism and the tension between conservation and regeneration, both in the management of vital resources and in human relationships. Linking boundaries of water to personal boundaries, we are creating a piece that focuses on mother and daughter relationships as juxtaposed against our and society’s stewardship of water.

GREY GREEN CANALS has two simultaneous narratives. The first is the story of mother and daughter, Dixie and Laura, who are trapped in a codependent, mutually destructive relationship that is also the strongest and most vital bond they have. Laura, who lives next door to her Dixie in a Midwestern town, desperately wants to move away from her Mother, extract herself from a downward spiral of self-loathing and paralysis. Dixie, who is living in a world threatened by growing emptiness and dwindling human contact, is clinging to the conviction that she and Laura must remain inseparable. Each woman experiences a rich fantasy life that reinforces her sense of urgency and commitment to her mission. Laura continuously daydreams of a Venetian Gondolier who wants to take her away in his gondola. Dixie regularly escapes to a fantasy in which she lives as a movie star, surround by attention and adulation, glamorously rescued from all sorts of dangers, while drinking champagne from fountains. All the while, both women’s worlds are slowly flooding from the inside.

GREY GREEN CANALS was developed with the support of a Dixon Place Artist Residency.

History

Grey Green Canals will be presented December 13th at 7:30pm and December 14th at 9:30pm at Dixon Place, as part of Concrete Temple Theatre’s Fall 2012 Artist Residency.

Press

Photos

Video

]]>
http://concretetempletheatre.com/new/grey-green-canals/feed/ 0
Alone in Triptych http://concretetempletheatre.com/new/alone-in-triptych/ http://concretetempletheatre.com/new/alone-in-triptych/#comments Sun, 01 Apr 2012 20:56:08 +0000 http://concretetempletheatre.com/new/?p=919

About

Alone in Triptych is an alternately thrilling, disturbing and darkly humorous play that investigates the hidden connections between three people linked by their aloneness. On their journeys of self-discovery, mythology collides with the modern world to reveal a universe filled with vivid imaginary, haunting music and a heightened poetic language. Emotional, vivid and hauntingly lyrical, this exploration of isolation and connection promises to be an evening of intense, intimate revelations.

Written by Renee Philippi and Co-Directed by Eric Nightengale and Renee Philippi, with performances by Vera Beren, Catherine Porter, and Michael Tomlinson. Photos and Projections by Stefan Hagen, Sound Design by Vera Beren, Set Design and Technical Direction by Carlo Adinofi.  Casey McLain is the production Stage Manager.

Alone in Triptych was developed with the support of a Dixon Place Artist Residency.

History

    • October  2012

      Dixon Place, New York, NYC

Press

Photos

Video

]]>
http://concretetempletheatre.com/new/alone-in-triptych/feed/ 0
Imperia, Save the World: ‘Cause Baby… http://concretetempletheatre.com/new/imperia-save-the-world-cause-baby/ http://concretetempletheatre.com/new/imperia-save-the-world-cause-baby/#comments Sun, 01 Apr 2012 20:55:48 +0000 http://concretetempletheatre.com/new/?p=380 h1.cufon {display:none;}

Imperia, Save the World: ‘Cause Baby, No Worry, No Funk, Time to be Sunshine Drunk

About

Imperia, Save the World: ‘Cause Baby, No Worry, No Funk, Time to be Sunshine Drunk is a play with music and songs, incorporating puppets, video & projections, and starring: Imperia, a fictional goddess; Margaret Thatcher; Winnie Mandela, and Indira Gandhi, as well as their male counterparts. The play comments on the history of ownership through an examination of land, media, & power divisions. As the play opens, a war is being waged. The war is between L’Empereur & the Archbishop over the goddess, Imperia: to whom does she belong? There’s a truce; the men agree that if Imperia is physically divided between them, they will stop fighting. Imperia will not be divided and flees. The men capture and imprison her and division negotiations continue, until the topic of her right breast arises. They both want it. There’s an intense argument. Neither will yield, so the war restarts, and as imprisoned Imperia waits to be divided, the ghosts of the secondary stories descend upon her.

Written and Directed by: Renee Philippi; Set, Puppets, and Projections Designed by: Carlo Adinolfi; Music and Sound Design by: Vera Beren; Lights: Stewart Wagner; Costumes: Danielle Breitenbach; Stage Manager: Casey McLain; Dramaturg/Assistant Director: Amy Rose Marsh; Video: Timothy McKee; Puppetry Consultant: Frankie Cordero & Megan DeCristoforo; Assistant Designer: Ali Aschman; Design Assistants: Sam Lopresti & Audrey Malcolm; Sound Assistant and Engineer: Ian Ruben-Schnirman; Featuring: Vera Beren*, Mi Sun Choi, Ailsa Courtney, Ayako Dean, Alexandra Finger*, Lezlie Harrison, Christopher Hurt*, Sandra Parris*, Janice Picconi, Michael Tomlinson; Musicians: Vera Beren, Mark Birkey, Patrick Conlon, and Mark Rogers

History

The only showing and workshop production of Imperia, Save the World was presented by The Flea Theatre, June 2008. Concrete Temple plans to continue development of Imperia, Save the World in the near future.

The development of Imperia, Save the World was made possible through the support of New York State Council on the Arts, New York City Department of Cultural Affairs, The Jim Henson Foundation, The Jerome Foundation, chashama, and The Flea Theater.

Press

Photos

Video

]]>
http://concretetempletheatre.com/new/imperia-save-the-world-cause-baby/feed/ 0
WanderLUSTers present “Acthtung Grimm!” http://concretetempletheatre.com/new/the-wanderlusters-present-achtung-grimm/ http://concretetempletheatre.com/new/the-wanderlusters-present-achtung-grimm/#comments Tue, 06 Mar 2012 16:23:23 +0000 http://concretetempletheatre.com/new/?p=505 h1.cufon {font-size:34px;}

About

In Wanderlusters Present “Achtung Grimm!” jobless circus stars stage the Brothers Grimm tales. A mix of comedy, song, dance, puppets and a lot of attitude make for a brilliant rediscovery of the Germanic tales. From Snow White’s Mirror Mirror singing how he determines “Who is the fairest of them all,” to The Juniper Tree’s Stepmother singing “What’s in it for me?” before decapitating her Stepson, The Wanderlusters give the Grimm tales a comic yet menacing twist.

Book & Direction by: Renee Philippi; Lyrics & Music by: Lewis Flinn; Sets by: Carlo Adinolfi; Lights by: Renee Molina; Costumes by: Cherie Cunningham; Featuring: Vera Beren, Mi Sun Choi, Bob Goldberg, Sandra Parris, Maggie Steele, and Michael Tomlinson

Wanderlusters Present “Achtung Grimm!” was made possible in part by public funds from the New York City Department of Cultural Affairs and by LMCC’s Fund for Creative Communities/NYSCA, Six Figures, and chashama.

History

WanderLUSTers present “Acthtung Grimm!”

  • July 2006

    Soho Think Tank’s Ice Factory at Ohio Theatre, New York, NY

  • May 2006

    Henry Street Settlement, Abrons Arts Center, New York, NY

  • July 2005

    Snow White chashama@Queens Plaza, Queens, NY

  • March 2004

    The Juniper Tree West End Theatre w/Six Figures, New York, NY

The development of WanderLusters present “Achtung Grimm!” was made possible through the support of New York State Council on the Arts, New York City Department of Cultural Affairs, and chashama.

Press

Theatre and fairy tales both work best when they make us jump out of our skin a little bit. Writer/Director Renee Philippi helps evoke this feeling by letting the Wanderlusts be our devious guide into Grimmsville.
–Larry Kunofsky, nytheatre.com

The Juniper Tree – the less well-known story of a young boy decapitated by his stepmother and reincarnated as a bird – is a fascinating piece of theatre that ends the evening on a somber note of melancholy and catharsis.
–Matt Windman, Backstage

Photos

Video

]]>
http://concretetempletheatre.com/new/the-wanderlusters-present-achtung-grimm/feed/ 0